58
10
1775
-
https://omeka.binghamton.edu/omeka/files/original/581ca3439ca5edb15536205d5b9b731b.pdf
9da6e986f9e37a8feb1a409d06f2d2e1
PDF Text
Text
STATE U NIVERSI TY OF N E W YORK AT BING HAMTON
HARPUR COLLEGE
TH E DEPA RTMENT OF MUSIC
THE GUARNERI STRING QUARTET
in resid ence
A rnold Ste in hardt, violin
John Dalley, violin
M ichael T ree, viola
David Soye r, cello
Harpur Col lege Theate r
March 26, 1 96 9
8 :15 p. m.
�PR OGRA M
Quartet in A Minor, Op. 29
Franz Schubert
Allegro ma non troppe
Andante
Menuetto. Allegretto
Allegro moderate
Intermission
Quartet in A M inor, Op. 132
Ludwig van Beethoven
Assai sostenuto — Allegro
Allegro ma non tanto
Molto adagio – Heiliger Dankgesang eines Genesenen
an die Gottheit, in der lydischen Tonart
Alla marcia, assai vivace: Allegro appassionato
Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma.
�PR OGRA M NOTES
QUARTET IN A MINOR, OP, 29
Even for Franz Schubert the Quartet in A Minor is surpassingly
lyric work. Written in a period of loneliness, (1822) and as a deliberate
preparation for larger symphonic works, it shows his complete mastery
of the quartet. The whole hasa very vernal quality, The first movement
alternates between pale sunshine and storm, thaw and chill. The
persistent rhythms of the second violin (so limpid, as in Schubert’s
“Brook” songs) and the ’cello (so vital) unite the entire movement
and echo in the others, unif ying the whole quartet.
The second movement is on the model of Haydn’s cumulative
variation slow movements. Its theme is yet another form of the
dactylic phrase which is Schubert’s motto theme, found everywhere.
(Rosamunde, piano Impromptus, etc.).
The Menuetto is no minuet at all, but is f rankly German Dances,
Waltzes, and Landler of the kind that Schubert improvised for his
f riends on many occasions. Of an almost unbearable wistfulness
and nostalgia, it begins (surely deliberately) with a quotation f rom his
own song on Schiller’s text, “The Gods of Greece. ” “Beauteous world,
where art thou ? Come again O lovely age of nature’s blossoming. ”
This confirms the direct subjective impression of springlonging
which emanates f rom the first two movements,
The last movement employs Hungarian motives and has been
criticized as an intrusive addition. These critics fail to understand
that such folkloristic themes and the repetitive Rondolike treatment
are precisely the celebration of the fertility of the earth the return
of Flora and the abundance of Ceres, and as such is the inevitable
and only possible conclusion.
Copyright 1969, by William Klenz
QUARTET IN A MINOR, OP, 132
This quartet was written in 1825 and is the second of the set of
three commissioned by P rince Galitzin. Sketches for the first and
last movements appear already in 1824 and the working out was begun
at once after the completion of the Quartet in Eflat, Op. 127, in Feb
ruary of 1825 was interrupted for several weeks by the severe illness
which overtook Beethoven that Spring. This circumstance, we will
see, contributes to the content of the work. Its composition was
resumed in March and finished toward the end of July. The first
movement begins with an enigmatic “cabbalistic” phrase, a secret
symbol which has the character of a mysterious introduction – “a key. ”
It is that, but more besides, for in reality it is the complementary
counterpoint to the winged phrase which is “released ” in the high
register of the cello after the fleetpassage of the first violin. Beethoven
in fact combines the cumulative effect of introduction with the function
�of exposition, for these contrasting yet matchi ng halves constitute
the first group of themat ic elements whose introduction is the “plot”
of the movement. They are never long absent, in spite of the intro
duction of contrasting material. The final pages of the movement are
notable for their sonority, and eloquent reduction of conv incing clarity
of the origina l “cryptogram. ”
The Scherzo sets aside jovial hilarit y and dynamism for detailed,
elegant, witty counte rpoint. The T rio exploits the same peasant
instru ment effects (hurdy gurdy) whic h were in the original mov ement,
first designed for this place moved by Beethoven to op. 130 ( Alla
danza tedesca). In the present movement the effect is, on account of
the key even more overt and colo rful.
The third movement refers directly to Beethoven’s illness in
1825. It was labelled by Betthoven originally in French ‘C hantD e
reconnaissance, en style lydique, offert a la Divinite, pa r unc o n
valescent. ” It is in Lied form, strophic with three va ried st rophes
and two intervening, contrasting, ref rains. The Lydian mode is a
scale FF. with B natural instead of Bfl at. The effect is a curious one,
a kind of enforced inactivity (which it indeed describes). The ref rains
(in normal D ma jor are labelled also Neue Kraft Fuhlend (feeling of
new st rength). The last trophe labelled “with most intimate sentiment”
varies the original in such a way as to provide su btle and curious
links to the materials of the fir st movement. The comparison to the
equall y autobiographical slow movement of the piano Sonata Op. 110
(which also concerns itself with an illness and convalescence) is ines
capable.
The Finale begins Alla Marcia —the march serves as fanfare
introduction— invocation (an element, it will be observed that is absent
f rom its proper place, the opening of the fir st mov ement.) It is c on
nected by a passage of recitativo declamat ion (Violin I), reminiscent
of the Ninth Symphony, to the finale proper, a Rondo of Dionysian
abandon.
Copyright 1966, by William Klenz
FUTURE EVENTS
TUESDAY, APRIL 8, 8:15 p.m.
NEW YORK WOODWIND QUINTET
The College Theater, Admission charge
Spring C hamber Music Series
THU RSDA Y, AP RIL 10. 8 :15
Recital Hall, Admission f ree
WISCONSIN CH AMBER SINGERS
SUNDAY , AP RIL 13, 8 :15
The College Theater, Admission f ree
THE COLLEGE CHOIR
David Buttoph, Conducto r
PLEASE NOTE : The New York Woodwind Quintet concert sc heduled
for April 7, has been resc heduled for APRIL 8, 8:15 p.m., in The Col
lege T heater.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
3 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
30:09
36:50
20:27
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IIE59234">Guarneri Quartet Recital</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
PDF Layout
This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous']
Options:
'Single' - Only the entire current page will be visible and Zoom will be set to page width.
'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width.
'Facing' - Up to two full pages will be visible and Zoom will be set to page height.
'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height.
'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
FacingCoverContinuous
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Guarneri Quartet Recital, March 26, 1969
Description
An account of the resource
Held at 8:15 pm, March 26, 1969, Harpur College Theater. Works of Schubert, Beethoven.
Creator
An entity primarily responsible for making the resource
Guarneri Quartet
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1969-3-26
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Schubert, Franz, 1797-1828
Beethoven, Ludwig van, 1770-1827
State University of New York at Binghamton. Department of Music.
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
39091020095836
39091020095885
39091020095570
-
https://omeka.binghamton.edu/omeka/files/original/8e102b659a1d478b075bd8c3e6f8cbd8.pdf
5c2759a4066337ff8636d264d11a22e5
PDF Text
Text
STAT E UN IV ERSIT Y OF N EW YORK AT BING HA MTON
HARPUR COLLEGE
TH E D EP AR TM ENT O F M USIC
with the sup lmr l o f the New Yor k S tate (fo und ! on the .lr ts
presen ts
THE NEW YORK WOODWIND QUINTET
in resid ence
Sam uel Baron, flut e
Ronald Rosem an, oboe
Dav id G laze r, clarinet
A rthu r W eis berg, ba ssoon
Ral ph F roe lich , Fr ench ho rn
Tuesda y, A pril 8, 196 9, 8 :1 5 p. m.
The Do n A . W atte rs T hea te r
�PROGRAM NOTES
PR OGRA M
INTRODUCTION AND ALLEGRO IN D MIN OR – Anton Reicha
Introduction and Allergro in D minor
Quintet (1951)
Anton Reicha
Robert Palmer
Lento expressivo
Allegro giocoso
Andante con molto
Allegro molto vivace
Who was the first composer to write music for the Woodwind Qui ntet?
P robably G. Cambini in the last few years of the 18th Century. But in
the minds of most woodwind players Anton Reicha is the father of the
Woodwind Quintet, for he not only wrote quintets (24 in all) , but he pop
ularized the medium and propagandized for it. Reicha began his wor k with
Woodwind Quintets in Paris in 1815. He had the foresighttosu r round
himself with a firstrate group of players who not only had the skill to
play his difficult music (difficult for the state of development of the wood
wind instruments of 1815) but also the desire to rehearse sufficiently to
create a new type of chamber music ensemble.
Reicha subsequently became a professor of harmoney, counterpoint
and composition at the Paris Conservatory. Among his students were
Hector Berlioz and Charles Gounod.
QUINTET (1951) – Robert Palmer
Out of a wideranging interest in all music Robert Palmer has fashioned
a unique style. Renaissance polyphony and American jazz have influenced
Intermission
his preferred textures and rhythms. He has kept his early commitment
London Trio in C ma jor, No. 1
Joseph Haydn
for flute, oboe and bassoon
Allegro moderate
Andante
to tonality as a basic organizing formal principle and within this framework
has evolved a harmonic language which is both sensitive and sinewy. Those
who know his music will immediately think of its energetic rhythms, but
it is the balance between these rhythms and the lyricism of the melody and
harmony which has created an enduring place for his music in the rep
eratory of our time.
Robert Palmer is am embe r of the music faculty at Cornell University. He
has recently returned from a sabbatical leave in Italy where he began
composing a new piano concerto and a work commissioned by the Cornell
Finale: Vivace
Wind Ensemble.
Permutazioni a Cinque (1958)
Matyas Seiber
Quintette en forme de Choros
Heitor VillaLobos
Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma
LONDON TRIO IN C M AJOR, NO. 1 — Joseph Haydn
Written in London in 1794, the Trio in C was composed for the Earl
of Abingdon. Since the original manuscript is lost, it is impossible to
ascertain whether Haydn assembled the collected volume of three Trios
(the other two are in G), or whether they were colated afterwards at their
first printing in 1805. Originally scored for two flutes (or two violins)
and ’cello, the members of the quintet will play the Trio as a woodwind
grouping consisting of flute, oboe and bassoon. The Trio’s essence is
one of Haydnesque humor, beautiful flowing melody, with the grace, charm,
and elegance so inserperable, so inherent in the vast output of Haydn’s
chamber music.
�PERMUTAZION I A CINQUE (1958) – Matyas Selber
A native of Hungry, Matyas Seiber did most of his composing in England.
He was the composer and teacher most prominent in bringing and pro
liferating twelve tone music in England up until his death in 196 1. Per
mutazioni a Cinque is a serial work, consisting of manipulations (pe r
mutations) of the basic set material to form short and vivid contrasting
sections, complex textural relationships, and a brilliant display of the
woodwind colors.
QUINTETTE EN FORME DE CHOROS – VillaLobos
Probably the foremost composer of Latin America, Villa –Lobos was a
figure of international reputation. He was an incredibly prolific composer
(a complete list of works encompasses over 2,000 items) who absorbed
the folk idiom of his native Brazil, as well as quanit ies of impressionistic
tendencies during his stay in Paris, when this piece was w ritten in 1928.
A favorite form which was of his invention, the Choros, was perhaps his
major contribution to twentieth century music. Of his 14 essays in this
form, there are various sizes and instrumentalvocal combinations. The
Quintette is very characteristic of what VillaLobos defines as “a new
form of musical composition in which a synthesis is made of diffe rent
types of Brazilian music, Indian and popular, refl ecting in its fundamental
elements the rh ythm and characteristic melodies of the people” .
URE EV ENTS
F UT
WEDNESDAY, APRIL 9, 7:30 p.m.
NEW YORK WOODme QUINTET
Hughes Hall, Admission f ree
Open Rehearsal
THURSDAY, APRIL 10. 8:15
Social Room, Student Center, Admission f ree
WISCONSIN CHAMBER SINGERS
Donald Neuen, Director
SUNDAY, APRIL 13, 8:15
The Don A . Watters Theater, Admission f ree
THE COLLEGE CHOIR
David Buttoph, Conductor
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
2 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
30:56
25:46
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59192">New York Woodwind Quintet Recital</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
PDF Layout
This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous']
Options:
'Single' - Only the entire current page will be visible and Zoom will be set to page width.
'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width.
'Facing' - Up to two full pages will be visible and Zoom will be set to page height.
'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height.
'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
Single
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
New York Woodwind Quintet Recital, April 8, 1969
Description
An account of the resource
Held at 8:15 pm, April 8, 1969. Works of Reicha, Haydn, Seiber, Villa-Lobos.
Creator
An entity primarily responsible for making the resource
New York Woodwind Quintet
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1969-04-08
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Reicha, Anton, 1770-1836
Haydn, Joseph, 1732-1809
Seiber, Mátyás, 1905-1960
Villa-Lobos, Heitor
State University of New York at Binghamton. Department of Music.
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
39091020095935
39091020095984
-
https://omeka.binghamton.edu/omeka/files/original/7d6bb6ed9d812ec70baed7ce57cb73ef.pdf
0e1ba7a46172d6e8a3953f7f0c02fc25
PDF Text
Text
STAT E UNI VERSITY OF NEW YORK AT BINGHA MTON
HARP UR COLLEG E
T H E DEP ARTM ENT O F MUSIC
T H E HA RPU R C HORALE & O RC H EST RA
MEN ’S GLEE CLUB
WOM EN’S CHORUS
Sunda y, A pril 13, 1969, 8 :15 p. m.
T he Don A . W atte rs T hea te r
�PR OGRA M
UNE CANTA T E DE NOEL
PR OGRA M NOTES
A rthur Honegger
Donald Miller, Baritone Solo
Treble Choi r
Harpur Chorale and Orchestra
A rthur Honegger composed the Cantata de Noel during the tall and winter of 1953 while
recuperating f rom an illness. The work was commissioned by Paul Sacher for the 25th
anniversary of the Basle Chamber Orchestra and was given its premiere by that conductor
and orchest ra on Decem ber 18th of the same year.
Opening wi th Psalm 130, De P rafimdis,the Cantata moves toward a potpourri of Christmas
carols, artf ully woven together and culminating in the Latin hymns, Gloria in Excelsis Deo
lnterm iss ion
and Laudate Domimm.
CHANTEYS
arr. Marsha ll Bartholomew
SPIRITUALS
DE WIN D BLOW OVER MY SHOULDER
I COULDN ’T HEAH NOBODY P RAY
HE ’S GOT THE WHOL E WORLD IN HIS HANDS
(Jim Osborne, soloist)
a r r. Ma rshall Ba rtholomew
a r r. Ma rshall Ba rtholomew
a r r. Fenno Heath
A S OF F TO T H E SOU TH ’A RD WE GO
AWAY TO RIO
A–ROVING
SHENANDOAH
T RADITIONA L SONGS
ERIE CANA L (Bob Kendall, tenor soloist)
AURA LEE (Terry Howell, baritone soloist)
THE SCOTC HMAN
AJ, LUCKA . LUCKA SIROKA
Men’s Glee Club
American Folk Song
T raditional
a r r. Joseph Canteloube
COME SLEEP
BARBARA A LLEN (Alida Stahl, soloist)
MOUNTAIN NIGHTS
Women’s Chorus
Robert Starer
arr. Katherine Davis
Zoltan Kodaly
Piano, Donna Hallen
Drums, Steve Millheise r
The genesis of the Cantate de Noel dates back to 1940 when Honegger was setting to
music the first portion oi‘ La Passion de Selzach as it was conceived by the poet, Caesa r
von Arx, which began with the episode of the Nativity of Christ. “It is this pa rt of the
work,” writes the composer, “which has served me as the basis for the Cantate de Noel,
not without undergoing in the course of its writing a nu mber of necessary changes. The
first chorus, the 12th Century plainsong Vent Emmanuel, brings the anguished appeal of
humanity to the Saviou r . ‘
In answer to this cry, the archangel announces to the shepherds the coming of the Messiah.
We then hear Freu Dich, O Israel; the 16th Century air, Es Ist Ein Reis Enlspmngen; the
French folksong, ll Est Ne Le Divin Enfant; Van Himmel Bach, Ikr Engelein Kommt; and the
famous Die Heilige Nacht, melody by Franz G ruber — all intermingled and terminating in
Psalm 117, Laudate Dominum,. An orchestral postlude concludes the work.
The Cantate de Noel is scored for double woodwinds, 4 horns, 3 trumpets, 3 trombones,
ha rp, organ, s trings, bari tone solo, a nd two choruses (mixed and children).
f rom Yale U niversity
Bohemian Marching Song
LOU BAYLERO (chant de Be rgers de HauteAuvergne)
(Phyllis Costanzo, Soloist)
Harpur Chorale
DIDN ’T M Y LORD DE LI VE R DAN I EL
SH A DRA CK
A CHRISTMAS CANTA TA — Honegger
arr. Walter Ehret
Robert MaeGimsey
Bass, Steve Kotrch
NURSERYROUND f rom the musical, FAN NY
IT’S A SIMP LE LITTLE SYSTEM, f rom the musical, BELLS ARE RINGING
(Shandor is sung by Jim Osborne)
Harold Rome
Jules Styne
Harpur Chorale
Ushering courtesy of A lpha Phi Omega and Gam ma Sigma Sigma
THE HARPUR CHORA LE
The Harpur Chorale is a group of 61 voices composed of a Men’s Glee Club and a Women’s
Chorus, with each group singing a representative choral repertoi re. The Chorale ’s member
ship is dra wn f rom both music ma jors and general college students and was founded in 1964.
The Chorale and Women’s Chorus are under the di rection of David L. But tolph. The Men’s
Glee Club is under the direction of Philip F. Nelson. The groups have, in recent years,
toured the Long Island area, Western New York State, and Canada. Most of the members
of the Harpur Chorale are residents of New York State.
Officers
T e r r y H o w e l l . . . . . , . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P resident
S a l l y B a r o n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Libra ri a n
Wa rdrobe
NancySimp kins
Secretary
T RINIT Y ME MORIA L CHURCH JUNI OR CHOIR — BOY T RE BL ES
Jack Hooton, Director
Thomas A rnold
G rant Best
David Brown
Craig Dykstra
Kent Heald
Kim Ha r rison, Depu ty Head T reble
Matthew Joggerst
Barry McDevitt
Joseph Pilotti
David Purd y, Head T reble
Scott Purdy
Thomas Rincker
James Sage
F rederick Shumaker
David Stibe r
James Trucker
Jeffrey Usas
Keith Walte r
Christopher Whitmore
Jonathan Whitmore
Paul Whitne y
�T HE HARPUR C HORA L E PERSONNEL
WOMEN ’S CHORUS
SOP RA N OS
Audrey Adler
Elvira Chiccarelli
Phyllis Costanzo
Nora F reeman
Joann G rizzanto
Linda Holgers
Bettsie Park
Donna Ribble
Regina Sablauskas
Nancy Simpkins
Alida Stahl
Ricky Stern
Terry Tedeschi
Linda T raver
Ca rol Tubbs
Kathy Tyrrell
L inda Uhly
Nadene V redenburgh
Jacobi Westerhuis
Vi rginia Wetherbee
Nancy Zucker
MEN ’S GL EE C L U
B
ALTOS
TENORS
Gail Arnold
Sally Baron
Nancy Carlson
Helen Cooney
Alona Cuningham
Joyce Ellenson
Laura Finkelstein
Carol Gill
Debby Kanter
Barbara Maggs
Penn Moulton
Shi rley Newberry
Susan Paisley
Simone Pel zman
Lynne Rudwick
Reva Weiskopf
Donna Hallen,
Accompanist
‘
BARITONES &
BASSES
Ken Davis
Bill Hopson
Michael Kass
Bob Kendall
Dick Michalak
Doug Steward
Jim Vanhart
MichaelWeingarten
Max Cepero
David Clark
Douglas Dorph
Jon Erlitz
Jeff Feinsilver
Leon Fried
David Fry
Terry Howell
Steve Kotrch
David Marcus
Ira Miller
Steve Millheiser
John Niessen
Jim Osborne
Alan Sanders
Douglas Shadwick
Dick Squiers
Ernie Tong
ChaiKyou Kim
Accompanist
Keith Willcox
T HE HARPUR ORC HEST RA PE RSONNE L
VIOLIN
*Ralph Wade, Concertmaster
*Melba Sandberg
*Daniel Mowrey
*John Mayorchak
*Richa rd Leavitt
Toby Harris
Ma rtha Strassberger
*Pamela Seversky
*Edward Pettengill, P rincipal
Vi rginia Pantalone
Debby Davidson
Sally Shaf e r
‘Sophie Horowit z
Douglas Diegert
Karen Voight
VIOLA
*Russell Colton, P rincipal
Joyce Stel zl
‘Kenneth Hollister
*Ann Ziegler
*Ma rga ret Sewa rd
‘Binghamton Symphony members
CELLO
*Ruth Brown, Principal
David Howard
*Jane Whitmore
*Thomas Riis
CONT RABASS
*Richa rd Thomas, P rincipal
*James Hills
*Anthony P reus
Dayle Sherba
ORGAN
Jack Hooton
HARP
Katherine Eliot
FLUTE
Ma rsha Kadleck
Bruce Merley
Glaiber
OBOE
Geoffrey Ba r ron
F ran K rauss
CLARINET
David Marcus
Jean Schab
BASSOON
Louise Belsky
Douglas Epstein
HORN
Matthew Goldstein
Stu Reeve
Rosalind Powell
P hil Salkin
TRUMPET
Deibert Cobleigh
Tom Sigler
Peter Dodge
TROMBONE
John Baldon
Tom Demilio
G rant Sullivan
PERSONNEL MANAGER
Edwa rd Pettengill
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
3 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
33:20
23:56
31:41
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59185
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59185">Harpur Chorale & Orchestra Concert</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
PDF Layout
This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous']
Options:
'Single' - Only the entire current page will be visible and Zoom will be set to page width.
'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width.
'Facing' - Up to two full pages will be visible and Zoom will be set to page height.
'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height.
'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
Single
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Harpur Chorale & Orchestra Concert, April 13, 1969
Description
An account of the resource
Held at 8:15 pm, April 13, 1969, Don Watters Theater. Works of Honegger, Starer, Kodály, Rome, Styne.
Creator
An entity primarily responsible for making the resource
Harpur Chorale & Orchestra
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1969-04-13
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Starer, Robert
Honegger, Arthur, 1892-1955
Rome, Harold, 1908-1993
Styne, Jule, 1905-1994
Kodály, Zoltán, 1882-1967
State University of New York at Binghamton. Department of Music.
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
39091020095687
39091020095737
-
https://omeka.binghamton.edu/omeka/files/original/6989498ec2e36901fad7e132d635c9ab.pdf
102ec2b391452c593b7b64417ccb2320
PDF Text
Text
STA T E U N IVE RSI T Y OF N E W YOR K A T BIN G H A M TON
HARPUR COLLEGE
TH E DEPA RT M EN T OF MUSIC
/
/
e
///////Z f X / U / M /
THE GUARNERI STRING QUARTET
in r es idence
Arnold Steinhardt, violin
Jo hn Dalley, violin
M ichael T ree, viola
David Soye r, cello
Sunday , A pr il 20, 1 96 9, 8 :15 p. m.
The Don A . Watte rs T heater
�O P L (I ~ D fl / e e
[ S E T p e e =
P A C E i z =
§
M i r / fi t Ho w
¢
f
¢
v
4
O P 4 C ~ ff l f j £
2 A74j°<PROGR$4§JPL 6 /
QUARTET IN E FLAT MAJOR, OP, 127
4 1
’/
Beethoven
Maestoso, Allegro
Adagio, ma non troppo e molto cantabile
Scherzando vivace
Finale
Intermission
ADAGIO & FUGUE, K. 546
QUARTET IN E FLAT MAJOR, OP, 18, NO. 6
Mozart
Beethoven
Allegro con brio
Adagio, ma non troppo
Scherzo, Allegro
La Malinconia Adagio:
Allegretto quasi Allegro
Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma
�PR OGRA M N OT ES
QUARTET IN E FLAT MAJOR, OP. 127 Beethoven
The first of the “last ” great quartets seems to have been begun by
Beethoven in early 1822. Later that year Prince Galitzin (to whom the
Quartet is dedicated) approached Beethoven about “two or three new
quartets. ” In the course of 1823 Beethoven resumed work on the E Flat
Quartet. but set it aside to finish the Ninth Symphony. The first per
formance, March 6, 1825, by the Schuppanzigh Quarted “was unfortunate';
another on March 23 was “more successful. ” It was published in the follow
ing year as “ G R A N D QUATUOR/en Partition/ pour deux violons alto et
Violoncelle compose et dedie/a SonAltesse Monseigneur le Prince/Nicholas
de Galitzin,/LieutenantColonel dela Garde S,,#M,,#J,,de toutes les Russies/
par/LOUIS V . BEETHOVEN/OEUV 127 . . . "
The atmosphere of the work is pastoral, not to say sylvan, where
Beethoven seems to draw strength and peace from contact with nature.
It seems pointless to reduce its structure to words when you are about
to experience the work itself . Suffice it to say that the first movement is
of normal components, although large in dimension and is created by the
organic processes of development which unite Beethoven and his beloved
natural world and sets an unmistakable sign on the work. An especially
treasured detail is the closing section which develops a small expressive
phrase into a vast summing–up.
The second movement is a theme and five variations — the organic
principle again (plus ca change, plus c ’est la meme chose) in the hands of
the master of the variation. The Scherzo exploits a shifting rhythmic
module — and its joke enables one to hear the Cosmic laughter which the
Indians say is the act of Creation itself. The Finale is another sonata
form built of musical materials that are in themselves unprepossessing
but which for Beethoven clearly held the germ cells of life and which he
leads to a powerful demonstration of the vitality of simple, natural forces
guided by inner organic unities and truth.
ADAGIO & FUGUE, K.546 Mozart
On June 26, 1788 Mozart noted, “A short Adagio for 2 violins, viola
and bass, to a fugue which I had long since written for two pianos. ” At
the end of the autograph the bass part is divided “violoncelli” and “contra
�basso,” which suggest that Mozart also had an orchestral performance in
mind. Beethoven was familiar with this work having copied the score.
The fugue is not idiomatic keyboard music but is in the abstract “severe”
style cultivated by the Italians in church music with implications of rig
orous and learned development. In this matter Mozart’s fugue is related to
Beethoven’s own Great Fugue and it is interesting to speculate as to the pos
sible impetus toward his work that this acquaintanceship may have been.
QUARTET IN B FLAT, OP, 18, NO. 6 Beethoven
Although the last in the series as published, the Bflat quartet was
almost certainly not the last composed. The work presents a cu rious
mixture of styles and looks both backward and forward. The first move
ment is a sonata movement of the most regular preHaydn construction.
Many of its details are reminiscent of the style of the Mannheim orc hes
tral composers ; the opening theme is a version of the “Rocket ” and the
heavily defined, tutti cadences also show their influence. However, the
farreaching modulations and key references bespeak the young master,
expecially in the way they transform the rather banal marchlike second
subject and let it “break ranks” for a spirited skirmish before being
marshalled into formation again by the reappearance of the efficient
martinet–grenadiersergeantlike, first subject (end of exposition and
end of movement).
The second movement is a simple ABA form with a short coda based
on both themes. What is astonishing is the filigreelike figuration which,
both on the page and in the ear, reminds one of the slow movements of
the very latest works. We hear things that a re to figure in the last ’cello
sonata (Op. 102 No. 2) =– the dotted figures in bar 13 — and others that
will appear in the variations of the A rchduke Trio. The Scherzo is another
of the long list of comic pieces originally called alla Zappa in early Italian
instrumental music — the effect is one to the opposition of rhythms of
two and of three and resembles the uneven progress of two unequally
gaited individuals. who nonetheless insist upon conversing. The Trio,
in contrast, is a moment of the lightest and easiest movement befo re the
f rog march resumes.
The last movement, La Malinconia (Melancholy) alternates a slow
introduction and interludes of a kind of vexatious, exasperated hypersen
sitivity with lighter but far from jocose principal sections. The effect
is febrile and hectic and only in the last moments does a clear gust of
vitality dispel the sultry atmosphere.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
3 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
27:53:00
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59182">Guarneri Quartet Recital</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Guarneri Quartet Recital, April 20, 1969
Description
An account of the resource
Held at 8:15 pm, April 20, 1969, Don Watters Theater. Works of Beethoven and Mozart.
Creator
An entity primarily responsible for making the resource
Guarneri Quartet
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1969-04-20
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Beethoven, Ludwig van, 1770-1827
Mozart, Wolfgang Amadeus, 1756-1791
State University of New York at Binghamton. Department of Music.
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
39091020095471
39091020095521
39091020095786
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: Universal Viewer / Rosetta
Rosetta audio media
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
3 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
25:05
28:49
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59182"> Guarneri Quartet Recital </a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Guarneri Quartet Recital
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Beethoven and Mozart.
Creator
An entity primarily responsible for making the resource
Guarneri Quartet
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1969-04-20
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Beethoven, Ludwig van, 1770-1827
Mozart, Wolfgang Amadeus, 1756-1791
State University of New York at Binghamton. Department of Music
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
39091020095471
39091020095521
39091020095786
-
https://omeka.binghamton.edu/omeka/files/original/1023aa79dc0df4c09d11de17cf03ddc4.pdf
f12c905dc990fe4ebd58ad3dc8495686
PDF Text
Text
STATE UNIVE RSlTY OF N E W YORK AT BIN GHAM TON
HARPUR COLLEGE
TH E DEP ARTM ENT OF MUSIC
with the support o f the New York State (fouru‘il on the .I rls
THE NEW YORK WOODWIND QUINTE’I‘
in residence
David Glazer, clarinet
Samuel Baron, flu te
A rthur We isberg, bassoon
Ronald R oseman, oboe
Ralph Froelich. F rench horn
Sunday, A pril 2 7, 196 9, 3 :0 0 p. m.
The Don A . Watters Theate r
�PROGRAM
Divertimento in B Flat Major
Haydn
Allegro con brio
Andante
Menuet
Rondo, Allegro
Eight Etudes and a Fantasy for Woodwind Quartet
Elliot Carter
Interm iss ion
Variations on a Folk Song
Bachianas Brasileiras No. 6, for flute and bassoon
Pentagram
Jan Sweelinck
VillaLobos
Ernst Krenek
Presto
Andante
Allegretto
Moderato, Allegro
Ushering courtesy of Alpha Phi Omega and Gamma Sigma Sigma
�PROGRAM NOTES
DIVERTIMENTO IN B FLAT MAJOR Haydn
The divertimento is a musical form Haydn often turned to for functional music
of the court. Unlike its predecessor (the dance suite) it is prevailingly homo
phonic. Probably the most noticeable connection between the two forms is their
rather optional number of movements. Originally scored for two oboes, two
clarinets, three bassoons, and serpent, the second movement will be recognized
as the famous St. Anthony Chorale used by Brahms in his Variations on Theme by
Haydn , op. 56.
EIGHT ETUDES AND A FANTASY FOR WOODWIND QUARTET – Elliot Carter
Certainly one of the most supreme intellects who contributes infrequent but
nonetheless monumental works to the current musical world, Elliot Carter is
a leading exponent in American music of the instrumental genre; perhaps the
leading force in new but soluable directions of comprehensibility, (at least it
is apparent that he is dedicated to an art form still concerned with a commu
nicative importance.)
Although his most recent works are of a highly complex and esoteric nature,
the Etudes, written in 1950, not only displays prophetic utilization of his mature
craftsmanship and profundity of thought, but they have also left a legacy of
certain performance and compositional techniques which are exploited fully by
todays “Avant Garde. "
After hearing the piece, a question may be raised as to whether the title
“ETUDES” refers to the actual virtuosity of performance spectaculars, (as
in the classical sense) or whether M r. Carter really had in m i ndat ype of
Com positional etude,
Etude #1 has the type of harmonic vocabulary more common to his Piano
Sonata – 1945, or The Minotaur (1947). It is somewhat alienated f rom the
vocabulary of, say, the Double Concerto or his most recent Piano Concerto.
Polychordal implications of pyrmading intervals, especially thirds and sixths
are prevalent,
A thinning out of texture occurs in Etude #2, where long solo legato lines
are combined at various immitative time spans.
Etude #3 is an interesting orchestration as well as ensemble study (in terms
of intonation and balance). A simple D major triad provides a rather vast
amount of source material for each of the woodwind colors, particularly when
these colors are redistributed among the root, third and fifth members of the
chord.
A f ractured, scattered mosaic compiled entirely of a twonote cell (which
is found at every place in each instrumental range) comprises Etude #4,
Etude #5 also makes use of extreme range, but in a more lyric manner.
High oboe and bassoon parts are combined with low flute and low clarinet
parts.
Etude #6 contains a foreshadowing of sounds used in some of the most
recent twentieth century compositions. There is an interesting use of artic
ulation as a structural reference, and many rhythmic complexities are subtly
combined with brilliant instrumental effects as well as harmonic niceties.
The note G in Etude #7 is similarly used as in Etude #4. The difference in
the two etudes is that in using only one tone, M r. Carter can successfully
experiment in combining only the pure and individual colors of each instrument,
using a basic controlling device of dynamic change.
�The last Etude is of a Passacaglia type, except that as the melodic lines go
fleeting by, various individual tones of the Passacaglia are shot out of the
texture on either end of eac h instrument’ s own extreme range.
In the Fantasy, a long theme is fugally and cannonically treated in con
junction with every technique previously heard in the Etudes. This Finale is
an amazing contrapuntal “tour de force, ” as well as a testament of justifi
cation for the esthetic behi nd the entire work.
VARIA TIONS ON A FOLK SONG – Jan Sweelinck
Jan Sweelinck was the most f amous organist of the 17th centu ry. A Neth
erlands composer, he was a prophet of the f reer contrapuntal style, and a
constant developer of the theme and va riation form. This form was undoubtedly
one of the most popular forms in the 17th centu ry.
Ernst Lubin, a contemporary composer living in New York City, trans
cribed this organ variation for the quintet, with the thought of emulating the
baroque organ, retaini ng the characteristics of its stops, and then transfer ring
these sounds to their corresponding woodwind colors.
BACHIANIS BRASIL EIRAS, NO. 6 FOR FLUTE AND BASSOON — VillaLobos
Contemporary musicologist and author of the book Introduction to Can
tem porary Music , Joseph Machlis sums up this VillaLobos piece very nic ely.
“VillaLobos was much preoccupied with what he called SINCRETISMO— the
fusion of native with outside influences. In his Bachianis Brasilerias he
created a form intended to forge a link between the a rt of his homeland and
the Western tradition. There is very little true counterpoint in these nine
suites that were written ‘in homage to the great genius of J. S. Bach.” But their
easy tunefulness has recommended them to a wide public.ll
PENTAGRA M – E rnest K renek
Mr. Krenek is a composer who has certainly gone th rough a numbe r of
“periods” and transitions; f rom jazz and post romanticism. to 12 tone pro
cedures and beyond. He has an immense output (over two hundred works) and
is well known and admired among his colleagues. Pentagram is a very ac
cessible work, even upon first hearing. Although it is dodecaphonic in assem
blage, serialization is often abandonedaseach movement progresses, causing the
entire content to be more reflective of tonal orientation than it really is.
Its four short movements evoke a wide range of emotional responses: f rom
humor and charm to an ultimate awa reness of its extreme organizational neat
ness. and f rom a type of introspective wandering, to bristling complexity,
particularly in the last movement.
The New York Woodwind Quintet, in residence at State U niversity of N ew
York (Harpu r College) Binghamton, will leave on May 12 for a two– month tour of
LatinAmerican countries under the auspices of the Cultural Presentations
Progra m of the United States State Depart ment. The countries to be visited
will be Mexico. Nicaragua, Curacao. Guyana, Surinam, Venezuela, Brazil,
Paraguay, Chile, and Columbia. This will be the third State Department tou r
for this group, which visited South America in 1956 and East Asia in 1962,
Besides presenting recitals in the major cities, the quintet will pe rform with
some orchestras and present semina rs and workshops in univers ities and
music schools.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
2 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
32:08
33:46
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59428">New York Woodwind Quintet Recital</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
New York Woodwind Quintet Recital, April 27, 1969
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Haydn, Sweelinck, Villa-Lobos, Krenek. Held at 8:15 pm, April 27, 1969, Don Watters Theater.
Creator
An entity primarily responsible for making the resource
New York Woodwind Quintet
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1969-04-27
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Haydn, Joseph, 1732-1809
Sweelinck, Jan, 1562-1621
Villa-Lobos, Heitor, 1887-1959
Krenek, Ernst, 1900-1991
State University of New York at Binghamton. Department of Music
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
39091020095620
39091020095679
-
https://omeka.binghamton.edu/omeka/files/original/b6f4755b5662a1e8f29c965fa3aebcdb.pdf
3be723d240c7e2725a26e0bc9bf3cb55
PDF Text
Text
Stat e Universi ty
of New York at
Bing ham ton
1 HE MUSIC DEPARTMENT
pres ents
SUS
AN PETERS,
PIANO
GRADUATE RECITAL
Apr il 30, 1969
9:15 p.m.
Music Rec ital Hal l
PRO GRAM
PARTITA NO. 1 IN þÿB&MAJO
m R
Prél ude
Alle man de
Cor rent e
Sara band e
Menuet 1
Men uct
II
Gigu e
SCHERZO NO. l IN BMINOR, or. 20
SONATA II FOR EARLY PIANO IN E MAJ OR
Fred eric Cho pin
Alex ande r Rein agle
Inte rmi ssio n
RHAPSODY IN B MINOR, OP. 79, NO. l
Joha nnes Brahms
INTERMEZZO IN A MAJOR, OP. 118, NO. 2
RHAPSODY IN G MINOR, OP. 79, NO. 2
SONATINE
Mod éré
Mouvt de Menuet
Animé
SONATA NO. 3, IN A MINOR,
OP. 28
Serg e Pro kof ieff
Thie rec ital is give n in r a rt ia l fulf illm ent
.: ti e requ irem ents for the
degr ee of Mas ter of Arts in Mu sic.
An info rm
al RECEPTION wil l be held
imm edia tely foll owing this
evening's performance in the adja cent corridor
to the Rec itall Hal l. All are cord ially inv it ed to atte nd.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
3 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
12:40
44:13
25:12
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59432
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59432"> Susan Peters Graduate Recital</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Susan Peters Graduate Recital, April 30, 1969
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Bach, Chopin, Brahms, Ravel, Prokofieff. Held at 8:15 pm, April 30, 1969, Music Recital Hall.
Creator
An entity primarily responsible for making the resource
Peters, Susan
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1969-04-30
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Bach, Johann Sebastian, 1685-1750
Chopin, Frédéric, 1810-1849
Brahms, Johannes, 1833-1897
Ravel, Maurice, 1875-1937
Prokofiev, Sergey, 1891-1953
State University of New York at Binghamton. Department of Music
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
39091020095729
39091020095414
39091020095463
-
https://omeka.binghamton.edu/omeka/files/original/93a7b52f2834deeb030eb12f99129eb1.pdf
5f9ecc86cae0f6e198076a898ada9e1f
PDF Text
Text
STATE UNIVERSITY OF NEW YORK AT BINGHAMTON
HARPUR COLLEGE
TH E DEPARTMENT OF MUSIC
SENIOR RECITAL
Terrance Howell, Baritone
(Student of Roberta Schlosser , William Lewis. Dennis Willi ams)
D o nna Hallen, Piano
(Student of A nita Carlton, Jean Casadesus)
May 2, 1969
8 :15 p.m.
Music Recital Hall
PR OGRAM
M ESSIAH
Recit :
Ai r :
George Frederic Handel
(16851759)
Behold, I tell you a mystery
T he t rumpet shall sound
LES PENITENTS eN MAILLOTS ROSES
A une Sainte le jour de sa fete
Marine a Roscoff
Henri Sauguet
(1901 )
La Ville
Jules Massenet
HERODIADE
(18421912)
Intermission
SONATA IN A MAJOR, OP, 120
Allegro moderato
Andante
Allegro
E MILY DICKINSON SONGS, OP, 77
When the Hills Do
Out of the Morning
I’m Nobody
Franz Schubert
(17971828)
Vincent Persichetti
)
(1915
Johannes Brahms
VIER ERNST E G ESA ENG E, OP, 121
(18331897)
Denn es gehet dem Menschen
Ich wandte mich
O Tod, wie bitter
Wenn ich mit Menschenund m it E ngel zungen redete
This recital is given i n partial f ulfillment of the requirements for the
degree of Bachelor of Arts in Music.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
2 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
19:36
40:39
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59437
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59437"> Terrance Howell and Donna Hallen Senior Recital</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Terrance Howell and Donna Hallen Senior Recital
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Handel, Massenet, Schubert, Brahms. Held at 8:15 pm, May 2, 1969, Music Recital Hall.
Creator
An entity primarily responsible for making the resource
Howell, Terrance
Hallen
Donna
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1969-05-02
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Handel, George Frideric, 1685-1759
Massenet, Jules, 1842-1912
Schubert, Franz, 1797-1828
Brahms, Johannes, 1833-1897
State University of New York at Binghamton. Department of Music
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
39091020095513
39091020095562
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: Universal Viewer / Rosetta
Rosetta audio media
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
42:45:00
OHMS Object
URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59441">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59441</a>
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59441">Newcomb Concert</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Newcomb Concert
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1969-05-03
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
State University of New York at Binghamton. Department of Music
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
39091020095612
-
https://omeka.binghamton.edu/omeka/files/original/be7275bd12b95a125411e04917351ab8.pdf
0b820c596e767c91440c0907a3f0fa3f
PDF Text
Text
STATE UNIVE RSITY OF N E W YORK AT BIN GH AMTO N
HARPU R COLLEGE
TH E DEP ARTM ENT O F MUSIC
present s
W IL LIAM L E W I S – T E N O R
Barbara Garges – a cc o mpa n i st
May 4, 1969
8 :15 p. m.
Recital H all
PROGRAM
Della sua pace
II mio tesoro inta nto
Moza rt
(f rom “Do n Giovanni ”)
Comment, disaientils
Oh! Quand je dors
E nf ant, Si j’ etais roi
Liszt
K ling
Winterwe ihe op.48
Winterlie be
Richard Strauss
Carl Ma r ia von W e be r
Du rch d ie Walde r
(scena and aria f rom “ Der Frei schutz”)
Intermission
A . Honegge r
T rois Psa umes
Rain has fallen . . .
Love cam e to us . . .
Gentle lady . . .
1.
2.
3.
4.
Gordon E merson
(texts by James J oyce)
Ja, das A lles auf E hr
We r uns get raut ?
In dieser Nacht
Ja, das A lles auf Ehr
(f rom “De r Zigeuner baron”)
Johann Strauss
Ushe r ing cou rtesy of Al pha P hi Omega a nd Ga m ma Sigm a Sigma
A RECEPT ION will be held immediately following the conc ert. It
will be located th rough the double g lass door s ad jacent to the Reci tal
Hall. A ll a re invite d to atten d.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
2 sound tape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
36:13
23:59
OHMS Object
URL
https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59444
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE59444"> William Lewis and Barbara Garges Recital</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
William Lewis and Barbara Garges Recital
Subject
The topic of the resource
Concerts
Instrumental music
Live sound recordings
Description
An account of the resource
Works of Mozart, Liszt, Strauss, Honegger. Held at 8:15 pm, May 4, 1969, Recital Hall.
Creator
An entity primarily responsible for making the resource
Lewis, William
Garges
Barbara
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
1969-05-04
Rights
Information about rights held in and over the resource
In copyright
Contributor
An entity responsible for making contributions to the resource
Mozart, Wolfgang Amadeus, 1756-1791
Liszt, Franz, 1811-1866
Strauss, Richard, 1864-1949
Honegger, Arthur, 1892-1955
State University of New York at Binghamton. Department of Music
Type
The nature or genre of the resource
sound
Identifier
An unambiguous reference to the resource within a given context
39091020095778
39091020095828